we're gonna we've got a challenging
upstroke on a G, skipping a,
a string right there.
Which is gonna pick up into the next bar.
You know, a lot of things one of the
things about momentum.
The solid sorta sense.
And if you if you can keep your, your
sense of rhythm solid and predictable,
and inevitable, and also keep your
momentum moving forward.
You know now you're talking about as far
as you know some of the great
things about bluegrass playing it's just
it just takes people.
You know, one of the reasons we love this
kinda the energy behind this music is.
It's the way it kinda churns and churns
and churns over again and
it never lets up, and this is a move like
You know it,
it picks up into the down beat of that bar
of C there,
the third bar of that line with a
Which again, provides a little bit,
causes a hammer-on.
We don't our pick so it provides enough of
Complete that phrase and
I would practice that there's two bars by
Cuz you got hammer-ons and
pulls right there.
that should kinda feel like one thing.
You should, you should feel the,
the fretting hand and picking hand working
in concert with each other.
You know, so you can just.
I really just wanna sit back and just
kinda feel those kinda bars.
we're looking at establishing strong down
Now, that leads us into the second half.
We're, we're tying an eighth and eighth
note to the and of two.
Now we're gonna add a little more
challenge to this to this piece here.
a little 16th note triplet for you guys.
it all comes from trusting that basic
Let your left hand, or
fretting hand, do the work.
The note you want to play is the.
That's what has to be back in time.
There's different ways to kinda phrase
that little hammer and
pull kinda trill thing.
To keep it real literal in time
it would be.
daka daka daka da.
But the still.
Allow that first note to,
to hang just a little bit and
you kinda you swing that little triplet a
little more back in the groove.
So that would be one more little
thing to isolate right here, but we really
You know, a strong fretting hand will pull
those things off.
See those, the pull off kinda snaps and
the hammer-on actually, you know,
creates a new note.
So, you hear four individual notes.
One, two, three, four.
One, two, three, four, five.
we, we're using this as an embellishment.
I mean, it's, we don't want it to sound
too you know, overcomplicated.
So I, I try to be subtle with those things
if I decide to use one of those
tricks like that.
I just kinda throw it in there,
you know, but you really don't want it to
overshadow what the melody and
the strum down down beats are doing.
again we talked about using hammer-ons and
pulls in this sense of
consistent rhythmic pulse with the
momentum you'll feel that at tempo
All through that last phrase,
it just kinda continues to push and push
Gonna change positions right there.
Sorta picking up again at this little
And pull, using the hammer to shift and
then using a pull off to shift back, open
here's an interesting little thing here in
the penultimate bar.
Using sliding up and down in rhythm.
We're gonna hammer-on to this third,
we're going to slide to the E.
Were gonna, we're gonna allow, or, or
rely solely on our fretting hand to kinda
carry us through the meat of that bar.
then a little hammer and pull right there.
the pick is actually going taka, taka,
taka, taka ta.
So it's, it's an efficient kinda way to
play something like this fast using
as much of our fretting hand as possible.
So all again, all the pick is going is,
one and, four and, one and two and three
and four and one.
So and, if you're a drummer, that would be
You know basic kinda thing to you know.
You know, you know it's, so that's sorta
what's going on, the underlying rhythmic
pulse of that kinda phrase.
But you know, trusting the coordination of
our fretting hand allows this to happen.
To set up that last little pull-off,
And you know, the, got a little 16th pull
there halfway through that bar, so again
those are all just down strokes.
Till that C right there.
Which sets up the last note which is a
third beat of the bar.
One time through I'll
just play it again that back half there's
a lot going on.
Trying to play it slowly.
So, you know, hopefully you're using some
embellishments in flat picking with, with
hammer-ons and pulls, slides and what not.
And these little triplets and, and more
quicker pulls and, and hammers.
To kinda embellish and this, and it
creates a certain feel to the melody.
You know, it's, it's, enhances it.
It's a provides variation on the theme.
And you can again look back at the at the
intermediate versions, and
the basic versions.
I encourage all advanced students to check
out all three levels of, of these,
of these tunes here on the site.
And you'll, again you can see how I'm
thinking about it, and
how I'm choosing to change things.
And I played that at a 100 beats a minute,
but you've got other rhythm tracks.
Start slow and, just, just get used to how
this feels, get used to how a, how a,
this version feels.
And then, and then, you know, you can
build tempo from there.
So, good luck with that.